A Spring Potpourri - 2016
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Toscanini IV – La Scala and the Metropolitan Opera
Toscanini IV – La Scala and the Metropolitan Opera Trying to find a balance between what the verbal descriptions of Toscanini’s conducting during the period of roughly 1895-1915 say of him and what he actually did can be like trying to capture lightning in a bottle. Since he made no recordings before December 1920, and instrumental recordings at that, we cannot say with any real certainty what his conducting style was like during those years. We do know, from the complaints of Tito Ricordi, some of which reached Giuseppe Verdi’s ears, that Italian audiences hated much of what Toscanini was doing: conducting operas at the written tempos, not allowing most unwritten high notes (but not all, at least not then), refusing to encore well-loved arias and ensembles, and insisting in silence as long as the music was being played and sung. In short, he instituted the kind of audience decorum we come to expect today, although of course even now (particularly in Italy and America, not so much in England) we still have audiences interrupting the flow of an opera to inject their bravos and bravas when they should just let well enough alone. Ricordi complained to Verdi that Toscanini was ruining his operas, which led Verdi to ask Arrigo Boïto, whom he trusted, for an assessment. Boïto, as a friend and champion of the conductor, told Verdi that he was simply conducting the operas pretty much as he wrote them and not allowing excess high notes, repeats or breaks in the action. Verdi was pleased to hear this; it is well known that he detested slowly-paced performances of his operas and, worse yet, the interpolated high notes he did not write. -
New York As the Operatic Metropolis by Henry T
NEW YORK AS THE OPERATIC METROPOLIS BY HENRY T. FINCK HETHER New York really is the rar and Caruso in the same opera, because W operatic center of the universe, as the fame of either alone fills the house. some critics and observers claim, is a ques Grau used to delight in arranging all-star tion worth considering. Doubtless the casts that took one's breath away. Once, Metropolitan has a larger number of great when he gave "Les Huguenots" with singers than any foreign opera-house; but Sembrich, Nordica, Jean and Edouard de it is also true that there have been years Reszke, besides Maurel, and Plangon, he when the number of first-class artists asked two dollars extra for parquet seats; gathered under its roof was greater than but often he provided casts nearly or quite it is now. This is particularly the case as remarkable without raising the prices. with the lowest voices. Among fourteen We recall, for instance, "Carmen," with mezzo-sopranos and contraltos, Louise Calve, Fames, Jean and Edouard de Homer alone upholds the high standards Reszke; "Tristan und Isolde" with Lilli of the past; and while Allen Hinckley, Lehmann (or Nordica), Schumann- Andrea de Segurola, and Herbert Wither- Heink, Jean and Edouard de Reszke, and spoon are good bas^s, they do not'rank Bispham (or Van Rooy). These cannot with Edouard de Reszke, Emil Fischer, be equaled to-day. Nevertheless, some of and Pol Plangon. Among the baritones, the present Metropolitan casts are not at however, there are no fewer than seven all to be sneered at. -
"The Bohemians" (New York Musicians' Club) : a Historical
ML A/S" """"^ "^"^ ML 28.N5B64" ^''niiBMiWiil!!™,.,!'''** ^'"* mu'lcians' clu 3 1924 022 246 346 CORNELL UNIVERSITY LIBRARY MUSIC Cornell University Library The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924022246346 Cl^orneU HntoetHitg ffiihratg JIttiata, STetP ^atk ^ Rafael Joseffy "THE BOHEMIANS" {New York Musicians' Club) A HISTORICAL NARRATIVE AND RECORD Written and Compiled for the Celebration of the Fifteenth Anniversary of The Foundation of The Club By H. E. KREHBIEL NEW YORK, DECEMBER 1921 Franz Kneisel, President Vice-Presidents Rubin Goldmark Sigmund Herzog Abraham W. Lilienthal Ernest T. Carter, Secretary Hugo Grunwald, Treasurer BOARD OF GOVERNORS Walter L. Bogert Edouard Dethier George Hnnili William H. Humiston Ernest Hulcheson Gardner Lamson Cornelius Rybner Herbert Witherspoon • I THE STORY OF THE BOHEMIANS 'Tis written: "In the Beginning was the Word." Here am I balked: who now can help afford? The WORD?—impossible so high to rate it; And otherwise must I translate it. If by the Spirit I am truly taught. Then thus : "In the Beginning was the THOUGHT," This first line let me weigh completely. Lest iriy im,patient pen proceed too fieetly. Is it the THOUGHT which works, creates, vndeed? "In the Begimrdng was the POWER," I read. Yet, as I write, a warning is suggested That I the sense may not have fairly tested. The Spirit aads me: now I see the light I "In the beginning was the ACT," I write. -—Goethe, "Faust," Scene III, HE problem which vexed the mind of Fav^t, pondering the philosophy formulated at the outset of The Gospel according to St. -
VOCAL 78 Rpm Discs Minimum Bid As Indicated Per Item
VOCAL 78 rpm Discs Minimum bid as indicated per item. Listings “Just about 1-2” should be considered as mint and “Cons. 2” with just slight marks. For collectors searching top copies, you’ve come to the right place! The further we get from the era of production (in many cases now 100 years or more), the more difficult it is to find such excellent extant pressings. Some are actually from mint dealer stocks and others the result of having improved copies via dozens of collections purchased over the past fifty years. * * * For those looking for the best sound via modern reproduction, those items marked “late” are usually of high quality shellac, pressed in the 1950-55 period. A number of items in this particular catalogue are excellent pressings from that era. Also featured are many “Z” shellac Victors, their best quality surface material (later 1930s) and PW (Pre-War) Victor, almost as good surface material as “Z”. Likewise laminated Columbia pressings (1923- 1940) offer particularly fine sound. * * * Please keep in mind that the minimum bids are in U.S. Dollars, a benefit to most collectors. * * * “Text label on verso.” For a brief period (1912-‘14), Victor pressed silver-on-black labels on the reverse sides of some of their single-faced recordings, usually featuring translations of the text or similarly related comments. VERTICALLY CUT RECORDS. There were basically two systems, the “needle-cut” method employed by Edison, which was also used by Aeolian-Vocalion and Lyric and the “sapphire ball” system of Pathé, also used by Rex. and vertical Okeh. -
Kirsten Flagstad Collection
http://oac.cdlib.org/findaid/ark:/13030/kt7t1nc9c1 No online items Guide to the Kirsten Flagstad Collection Processed by Nancy Lorimer. © 2004 The Board of Trustees of Stanford University. All rights reserved. Guide to the Kirsten Flagstad ARS-2004-01 1 Collection Guide to the Kirsten Flagstad Collection Collection number: ARS-2004-01 Department of Special Collections and University Archives Stanford University Libraries Stanford, California Processed by: Nancy Lorimer Date Completed: 2004 July Encoded by: Nancy Lorimer & Steven Mandeville-Gamble © The Board of Trustees of Stanford University. All rights reserved. Descriptive Summary Title: Kirsten Flagstad collection, Date (inclusive): 1923-1962 Collection number: ARS-2004-01 Creator: Flagstad, Kirsten Extent: 86 sound tape reels Repository: Stanford University. Libraries. Dept. of Special Collections and University Archives. Abstract: Collection contains recordings of Kirsten Flagstad and Waldemar Alme in performances and interviews. Language: German. Access Collection is open for research. Listening appointments may require 24 hours notice. Contact the archive Operations Manager. Publication Rights Property rights reside with the repository. Publication and reproduction rights reside with the creators of the documents or their heirs. To obtain permission to publish or reproduce, please contact the Head Librarian of the Archive of Recorded Sound. Preferred Citation Kirsten Flagstad collection, ARS-2004-01. Dept. of Special Collections, Stanford University Libraries, Stanford, Calif. Biography / Administrative History Kirsten Flagstad (1895-1962), an operatic soprano, spent the first 18 years of her career in Scandinavia, singing opera, operetta and musical comedy. After performing Isolde in 1932 at the National Theatre, Oslo, she was invited to Bayreuth, where her performances in small Wagnerian roles led to invitations to the Metropolitan Opera in New York, to the San Francisco Opera, and to Covent Garden. -
Boston Symphony Orchestra Concert Programs, Season 122, 2002-2003
2009 W03 SEASON JAMES LEVINE BERNARD HAITINK SEN I OZAWA MUSIC DIRECTOR LAUREATE OR M Bring your Steinway: With floor plans from 2,300 Phase One of this magnificent to over 5,000 square feet, property is 100% sold and you can bring your Concert occupied. Phase Two is now Grand to Longyear. being offered by Sotheby's Enjoy full-service, single- International Realty and floor condominium living at its Hammond Residential Real absolute finest, all harmoniously Estate. Priced from $1,500,000. located on an extraordinary eight-acre Call Hammond Real Estate at gated community atop prestigious (617) 731-4644, ext. 410. Fisher Hill LONGYEAR a/ Ijrisner Jiill BROOKLINE CORTLANlf SOTHEBY'S mmami PROPERTIES ENC International Realty E A L ESTATE -.?« .4 Rarely does a residential building combine this level of architecture, service, and location, in one of Boston's most vibrant neighborhoods. Even rarer still is the opportunity to be a part of it. Street, Atelier is Located at 505 Tremont Street at the corner of Berkeley | 505 a limited edition of luxury condominiums by The Druker Company, Ltd., developer of the award-winning The Heritage On The Garden. Opening pricing from $550,000 - $3,000,000. Sales Center now open. For appointment and preview call 617.451.5050 www.Atelier505.com ?dfar £ BOSTON \ James Leviiie, Music Director Designate SYMPHONY i } Bernard Haitink, Principal Guest Conductor \UK.L.rit,MKA/ o ••• Ozawa, Music Director Laureate 122nd Season, 2002-2003 ^flfcfcfljjff^^^^5 Trustees of the Boston Symphony Orchestra , Inc. Peter A. Brooke, Chairman Julian Cohen, Vice-Cha irman Robert P. -
Die Meistersinger, New York City, and the Metropolitan Opera: the Intersection of Art and Politics During Two World Wars
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 6-2016 Die Meistersinger, New York City, and the Metropolitan Opera: The Intersection of Art and Politics During Two World Wars Gwen L. D'Amico Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/1221 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] DIE MEISTERSINGER, NEW YORK CITY, AND THE METROPOLITAN OPERA: THE INTERSECTION OF ART AND POLITICS DURING TWO WORLD WARS by GWEN D’AMICO A dissertation submitted to the Graduate Faculty in Musicology in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 ii © 2016 Gwen D’Amico All Rights Reserved iii Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico This manuscript has been read and accepted for the Graduate Faculty in Music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy _______________________"""""""""""""""""""""""""""""""""""""""""""__________________________________" Date Norman Carey " " " " " " " Chair of Examining Committee ______________________"""""""""" " " _____________________________________" Date Norman Carey " " " " " " " Executive Officer Supervisory Committee Allan Atlas, Advisor Bruce MacIntyre, First Reader Nicholas Vazsonyi THE CITY UNIVERSITY OF NEW YORK iv ABSTRACT Die Meistersinger, New York City, and The Metropolitan Opera: The Intersection of Art and Politics During Two World Wars By Gwen D’Amico Advisor: Professor Allan Atlas In 1945, after a five-year hiatus, the Metropolitan Opera returned Richard Wagner’s Die Meistersinger von Nürnberg to its stage. -
ARSC Journal
Sound Recording Reviews 103 mer Cw/Gladys Swarthout, RCAVSO, (SFSO, Mar. 4, 1942); Ravel: Alborada Dec. 9, 1952); Symphony in B-flat del gracioso (SFSO, Dec. 22, 1947); (SFSO, Feb. 28, 1950). Daphnis et Chloe - Suite No. 1 (SFSO, Apr. 3, 1946); La Valse (SFSO, Apr. 21, Vol. 5: Debussy: Images (SFSO, Apr. 3, 1941); Valse nobles et sentimentales 1951); La mer (BSO, July 19, 1954); (SFSO, Apr. 3, 1946). Nocturnes (BSO, Aug. 15, 1955); Sarabande (orch. Ravel; SFSO, Apr. 3, Vol. 11: Rimsky-Korsakov: 1946). Scheherazade (SFSO, Mar. 3-4, 1942); Sadko (SFSO, Mar. 3, 1945); Symphony Vol. 6: Liszt: Les preludes (BSO, Dec. 8, No. 2 (SFSO, Apr. 2, 1946). 1952); Saint-Saens: Havanaise (wl Leonid Kogan, BSO, Jan. 12-13, 1952); Vol. 12: R. Strauss: Ein Heldenleben Scriabin: Poeme d'extase (BSO, Dec. 8, (SFSO, Dec. 20, 1947, previously 1952). unissued); Tod und Verkltirung (SFSO, Jan. 23, 1960). Vol. 7: Delibes: Coppelia - Suite (BSO, Dec. 2-4, 1953); Sylvia - Suite (BSO, Dec, Vol. 13: Stravinsky: Petrouchka (BSO, 30-31, 1953); Gounod: Faust - Ballet Jan. 28, 1959); Le sacre du printempts Music (SFSO, Dec. 22, 1947). (BSO, Jan. 28, 1951). Vol. 8: Franck: Piece heroi:que (orch. Vol. 14: Tchaikovsky: Symphony No. 4 O'Connell; SFSO, Apr. 22, 1941); (BSO, Jan. 28, 1959); Symphony No. 5 Symphony in D minor (SFSO, Jan. 7, (BSO, Jan. 8, 1958); Symphony No. 6 1961); D'lndy: /star - Symphonic (BSO, Jan. 26, 1955). Variations (SFSO, Jan. 27, 1945). 2. Monteux, Doris G. It's All in the Music. Vol. 9: D'lndy: Fervaal - Prelude (New York, NY: Farrar, Straus and (SFSO, Jan. -
Chapters of Opera
Chapters of Opera H.E. Krehbiel Chapters of Opera Table of Contents Chapters of Opera.....................................................................................................................................................1 H.E. Krehbiel.................................................................................................................................................2 PREFACE......................................................................................................................................................4 AUTHOR'S NOTE TO THIRD EDITION....................................................................................................5 CHAPTER I. INTRODUCTION OF OPERA IN NEW YORK...................................................................6 CHAPTER II. EARLY THEATERS, MANAGERS, AND SINGERS......................................................11 CHAPTER III. THE FIRST ITALIAN COMPANY...................................................................................16 CHAPTER IV. HOUSES BUILT FOR OPERA.........................................................................................21 CHAPTER V. MARETZEK, HIS RIVALS AND SINGERS.....................................................................27 CHAPTER VI. THE NEW YORK ACADEMY OF MUSIC.....................................................................32 CHAPTER VII. MAPLESON AND OTHER IMPRESARIOS..................................................................36 CHAPTER VIII. THE METROPOLITAN OPERA HOUSE.....................................................................40 -
AULIKKI RAUTAWAARA [S] ANTENORE
VOCAL 78 rpm Discs AULIKKI RAUTAWAARA [s] 1580. 12” Blue Telefunken E1795 [020549/020550]. PEER GYNT: Solvejgs Wiegenlied/ PEER GYNT: Solvejgs Lied (Grieg). Orch. dir. Hans Schmidt-Isserstedt. Few rubs, 2. $8.00. ANTENORE REALI [b] 1824. 12” Green Cetra 25130 [2-70930/2-70968]. ARLESIANA: Come due tizzi ardenti (Cilèa)/ ZAZÀ: Zazà, piccolo zingara (Leoncavallo). Orch. dir. Arturo Basile. Just about 1-2. $12.00. GEORGES RÉGIS [t] 2946. 10” Blue Pats. Victor 45025 [14122u/6013h]. ILLUSION- SÉRÉNADE (Barbirolli)/ PARAIS À TA FENÊTRE-SÉRÉNADE (Gregh). IMs. Minor rubs, 2-3. $10.00. HEINRICH REHKEMPER [b]. Schwerte, 1894- Munich, 1949. After working for a period as a machinist, Rehkemper studied singing in Hagen, Düsseldorf and finally Munich. His debut was in Colberg, 1919, and then he sang as a leading baritone at Stuttgart. From 1925 he was with the Munich Staatsoper where he achieved great popularity and musical success. He was equally at home on the con- cert stage and was considered as one of the great lieder interpreters of his era. During World War II, in addition HEINRICH REHKEMPER to singing, Rehkemper taught at the Mozarteum in Salzburg. 2694. 10” PW Green elec. Polydor 23148 [1689BH/1690½BH]. NICHT MEHR ZU DIR ZU GEHEN, Op. 32, No. 2/DIE BOTSCHAFT, Op. 47, No. 1 (both Brahms). Piano acc. Michael Raucheisen. IMs. Just about 1-2. $15.00. 2395. 10” PW Green elec. Polydor 23150 [1686BH/1687BH]. ZUR JOHANNISNACHT, Op. 60, No. 5 (Grieg)/IM KAHNE (Grieg). Piano acc. Michael Raucheisen. Just about 1-2. $15.00. HANS REINMAR [b] 3700. -
Wagner's Der Ring Des Nibelungen
Wagner’s Der Ring des Nibelungen - A comparative survey of 18 selected cycles by Ralph Moore I do not know how exactly many Ring cycles are available but I would guess at least thirty, and I offer the following brief evaluation on the understanding that I make no claims to comprehensiveness; this is a personal survey of the eighteen cycles in my own collection. I candidly admit to having discounted several cycles from the 80’s by Haitink (1988-90), Levine (1987-90), Janowski (1980-82), Boulez (1980), as that was decidedly not a Golden Age of Wagner singing, nor have I included the recent, live cycle from Jaap van Zweden on Naxos, as I do not share the enthusiasm some MusicWeb colleagues have expressed for this set as “truly a Ring for our age”; I fear that to me that does not sound like a compliment. I have heard, even owned and then discarded them all because I honestly do not think that their casts can hold a candle to the artists in earlier recordings. Nor does their superior stereo or digital sound necessarily present any advantage, in that it only reveals even more distinctly the vocal inadequacies of the singers compared with those of the immediate post-World War II generation. When I want to hear that marvellous music, it is to recordings from the mid-50’s and 60’s in particular that I turn, because that was the era which gave us stereo sound but could also still stage a Wagner opera with stellar voices, whereas many previous recordings are superbly performed but sonically compromised by being in live mono. -
Jgnestumner Geer^
NEW-YORK DAILY TETBTTNE, RTODAY. FEBRUARY 25. 1908. 3 ' m WB # \u25a0 « 111/ ssß WX Mi jsw «» mm « \u25a0 \u25a0 s%m \u25a0\u25a0 & »i sT SI Cl9A sIW M fsTsfr if V m f——^. \u25a0 GEOROY KONYUS. YVETTE GUILBERT. JOSEF LHEVINNE. RAFAEL JOBEPPY. His suite, "From Childllfe," will be played by Singing at Lyceum Solo at Symphony Society this the Theatre. Pianist the Russian He will play at the next concerts of the- Sym- the Russian Symphony after- Concerts. phony noon. Oroheatra. TEL WEEKLY CALENDAR. Eames as Elisabeth. Miss Fremstad as Venus, Musical. Miss Alten as the Bhepherd, Tann- Musical. Bunday—Oarnepie Hall. 3 p. rr... concert of the Mr.Knote as Russian Symphony Society; Metropolitan hauser. Mr. Van Rooy as Wolfram, Mr. Blass as Opera 8.30 p. concert of Wagner's the Landgraf and Mlihlmann, House. m.. Art, Messrs. Reiss. : Hail of the Institute of Musical I^Yanke Bayer In th« remaining parts. Con- • p. m. recital of Bonatas for and and t violin INSTITUTE OF ductor. Mr.AlfredHertz. Friday evening, March MUSICAL pianoforte by ART Mr. and Mrs. Mannes. CITY OF 2, Is OF THE MBW YORK Monday—Metropolitan Opera House. 8 p. m., reserved -for another presentation of "Tosca." MISS SARA ANDERSON. ALBERT REISS. and 1* End^-wed Incorporated opera In ItAllan. "Marta"; Mendelssohn with Mm*. Eames as Florla, Miss Mulford as Aa Eva in "Die Meisterainger." At Mime In "Der Ring dcs Nibelungen. He".!, 3 p. m.. pianoforte recital by Helnrlcji the Shepherd, Mr. Dippel as Mario, Mr. Scottt (Copyright by Aim*Dupont.) FRANK DAMROSCH Gebhard.